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- Murder Mystery Express will be departing
in five minutes on Track 5.
Happy Halloween, everyone.
- Hi. - Trick or treat.
- Nice costume, Marilyn. - This place is a mad house.
- Here you go. - Yeah.
- A lot of private party trains.
- One of these times, I'm going to try your private party train.
- It's a lot of fun, and people really get into it,
but you better book ahead of time because we fill up fast.
- I can see that.
- Whoa, how cool is this?
Look at this thing.
- I know, right?
Says here this train was built in the 1900s.
- Whoa.
You know, I'd love to do one of these train parties.
- That's super-expensive.
- All the passengers dress up in old-fashioned clothes
and play some sort of mystery, whodunit game.
- Ooh, sounds fun.
- An evening filled with murder, mirth and mayhem,
includes appetizers, prime rib dinner and drinks.
- Drinks?
They got booze?
See, that's what I'm talking about, guys,
a little train ride, a little class.
Get the man a drink.
- Get the man a drink?
- Yeah, get the man a drink.
Get the man a drink. Get the man a drink.
Get the man a--ooh.
Great costume, are you with the train?
Happy Halloween.
We out.
- Hey, Lisa.
- Coming.
- I like your dress.
- Well, thank you.
- It's really nice.
- Well, you're very sweet, and so is yours.
- Did you make it? - Abigail.
- As a matter of fact, I did.
You know, you have a very good eye.
- Please forgive her, she tends to ask a lot of questions.
- No, not at all, it's fine.
- How long you suppose we got to wait?
- I don't know.
- 10, 15, 20?
- I don't know. - It feels like forever.
- They're going to get on, then we're going to get on.
- You know, the cast always gets on first.
- Yeah, well, just feels like....
- Shouldn't be long.
- Good evening, ladies and gentlemen, and welcome.
We are now boarding the Murder Mystery Express.
- Yeah! - Welcome.
Please, this way. - Finally.
- This way, ma'am, mind the step.
- Thank you. - So glad you could join us.
You're looking absolutely lovely.
- Good evening, sir. - Good evening, sir.
- Luther.
- Yeah?
- How's it looking?
We running on time, or you guys need a nap before we get going?
- All fired up. - Waitin' on you.
- All right, just load 'em up now, we leave in five.
- Welcome aboard.
Please, come in, find yourselves a seat.
We'll be leaving shortly.
Make yourselves comfortable.
So glad to have you.
- It's so beautiful.
- Pretty nice, huh?
Good evening.
- Good evening.
- You know, I have to say,
that's a fantastic color rouge you're wearing.
My company sells it all the time.
- Really? - Absolutely.
It's not 100-percent match for your color wheel,
but I can see what you were going for.
I've got a free sample you can take home with you.
It's a perfect blend-- I'm Eugene, by the way.
I was just...
Okay.
- Have you ever been on one of these before?
- A train? Yes.
- Well, not just any train, the Murder Train?
- Can you please not call it that?
- Antonia doesn't like it when I call it the Murder Train.
She didn't want to come.
- No? - No.
- My parents couldn't come, so we asked her instead.
She's not too happy about that.
So, have you?
- Been on the Murder Train?
No, but my friend is in the production.
That's why I'm here.
- Oh, which one?
- Dark-haired girl at the front?
- Yeah, that's her. How did you....
- Extra blush, heavy eyeliner.
Eugene. - Evelyn.
- So who is she playing?
- You know, I don't know.
I just know her character's name is Daisy.
See, she wanted it to be a secret.
- I wonder if she does it.
- I don't know.
- I doubt it, but that's the fun part,
you know, figuring it out.
- I take it you've been on one of these before?
- Yeah, 14 of them. This one's the 15th.
- Fifteen?
- I can spot the bad guy within five minutes.
Trust me, I'm rarely wrong.
- Don't you get tired of seeing the same one?
- Never.
I've been down the East Coast for the last five years
selling cosmetics.
Anyway, I've seen every show from here to Maine,
and they're all a little different.
- Really?
- Yeah, my company works with the big theaters.
It comes with the job, wholesale, new accounts,
stuff like that.
Anyway, they give tickets to this stuff all the time,
and I'm hooked!
The Murder Mystery Train.
Dun-dun-dun!
- Excuse me, everyone, gather for a photograph, please.
- Ooh, a photo, sure.
- Do you mind if I...?
- Oh absolutely, sure. - Thank you.
Wow, look at that camera.
- Is that real?
- Of course it is; smile.
- All right, very good,
looking good, here we go, in three, two, one...
- How's it looking? - All good on my end.
Luther says we're ready to roll.
All cast, crew and passengers on board?
- Boarding complete.
- I guess we're good to go.
Hey, have a great ride. See you on the other side.
- I'll see you.
- She's all yours, Luther.
- All aboard, all aboard.
- Is this seat taken?
- Uh, no.
- May I?
- Of course. - Thank you.
- How are you? - Fine, thank you.
- You seem a little nervous.
- A little. It's my first time.
- Oh, well, I think you're safe.
I don't think it's real.
- I hope not, I paid for it.
- Ah.
- Thomas Hall. - Evelyn Hyde.
- It's nice to meet you. - You, as well.
This is Antonia and Abigail.
- Hello, hi.
You know, I couldn't help but overhear
that you have a friend in the show.
- I do.
- But you've not seen a performance?
- I have not, but when my friend purchased a ticket,
I couldn't say no.
And you?
- My brother, he came last year and wanted me to come,
but I couldn't, so I made a point to try it this year.
- And your brother? - Hmm?
- Well, your brother?
- Oh, uh, unfortunately he was unable to come this year,
so I came alone.
- I'm sorry.
- No, it's all right, these things happen, you move on.
- Do we?
- See anything you like?
- Depends on what's for sale.
- Cigarettes, cigars, hard candy.
- Oh, I like candy.
Any chance I can, uh, order off the menu?
- I'm afraid you just heard what's available.
- One orange blossom chicken for you.
Prime rib, medium rare.
- Thank you.
- Looks good. - Better than I expected.
- This has to be one of the best meals I've had
at one of these things.
- Everything all right?
- Yeah, no, I'm sorry, I thought I....
- What?
- Nothing.
- You sure?
- I thought I saw a roach on my plate.
- I'm pretty sure that's not on the menu.
- Don't worry, I think yours is fine.
- Here, take mine. - No, no, no, it's fine,
I'll just let the server know. Um, excuse me?
- Is everything okay?
- I, uh, I saw a bug on my plate.
- I'm so sorry, we'll get you another plate, okay?
James?
Could we please get Miss Hyde another plate?
- Yes, ma'am. - Thank you.
- Thank you very much.
- Evelyn?
- I'm sorry, I'm fine, it's--everything's fine.
I just--it just startled me.
- You sure you're all right? - Yes, I'm fine.
- The mind is unforgiving,
for the soul cannot speak.
Ladies and gentlemen...
I welcome you to the M-Train.
- The Murder Train.
- The mystery that must be solved and will be,
for by the conclusion of this evening,
someone will die.
Perhaps more than one.
Who can say?
I offer you this introduction so you might be informed
for the proceedings.
A famous singer, a grand dame of the stage
is with us tonight:
Miss Kathryn Danby.
She travels with her biographer, Simon Redfield.
Marcus Daniel, an inventor, otherwise unknown
but soon will be
with what he has to offer the world.
Daisy Elane, another dreamer who makes it to the city
in search of fame and fortune.
What will she find when she gets there,
if she gets there?
Asher Loeb...
a cunning and ruthless industrialist,
who made his fortune over the backs
of those willing to break theirs.
An individual not to be trifled with.
How about you, good sir?
- Who me?
- Eugene Carlson...
the scion of Grace Carlson Cosmetics,
a man who sets out to create his own path,
to build upon greatness and conceive empire,
to cast our his net and catch the ocean.
Ambitious indeed.
What will be his fate this hallowed eve?
- Whoa.
- Antonia Gutierrez.
- Young Abigail.
Daughter of Eleanor and Franklin.
How did you find yourself here tonight?
What will become of all that you could be
but might not ever?
Is this truly your fate,
to cast your future with the like of this lot?
- I'm not sure what you mean by this lot.
- Miss Evelyn Hyde.
If ever a name were more appropriate for a soul.
Here to see a friend?
- Yes, I am.
- Are you sure?
- Why else would I be?
- Indeed, all manner of secrets
lies in the heart of men.
- Well, then, I guess I have nothing to worry about.
- We shall see, Miss Hyde, we shall see.
Don't you agree, Mr. Hall?
Silence is golden, huh?
Perhaps well-advised.
All will be outed during the passing of this night.
None who came as they are shall leave as they were.
There are many resolutions to this journey.
Its finale is decided by you.
The circumstances surrounding tonight's affair
will undoubtedly seem unusual.
There will be moments of significant discomfort.
Follow it, embrace it.
It will be much easier if you do.
Rest assured it's all part of the plan.
- What is it?
- Upon my departure, should any one of you need assistance
during this mental expedition,
I will not help you.
I cannot help you.
You will all have to solve this mystery to your own accord.
Which finally brings us to you, Mr. Jessup.
No doubt you were hoping you would be passed by.
- You sure you want to do this?
- All will be revealed.
Ladies and gentlemen, a toast to an evening
that shall not be easily forgotten.
May each of you find your way to the truth.
Ladies and gentlemen,
let's start with what we all came here for.
At last, the game.
- Oh my God. - Jesus.
- What the hell is going on here?
- Oh, this is absurd.
- I've never seen them kill the host before.
- He's dead.
- No, he's not.
- I'm afraid he is.
- Oh!
- What is this? - He's been stabbed.
- I can see that, but by whom?
- Well, the only one who was standing behind him
in that doorway before he fell
was you.
- Did anyone else see anything?
- I might've, but it was dark, and the lights were crazy.
- If you would all please, just please keep your seats.
- What exactly do you think you're doing, sir?
- I'm taking him to the next car; we have a doctor.
- How do we know we can trust you?
- Because I'm the only one who wasn't in here, that's why.
Come on, give me some help here, hurry up.
Let's get him out of here.
Come on.
- I think we're in the show.
- This is a bad train.
- What exactly are we supposed to do now?
Hmm?
- I might be able to help with that.
Can I have your attention please?
I'm afraid that's all the time that we have
for our show this evening.
If you would direct your attention to the man
with the gun, the rest of the night's proceedings
will be made clear.
- I knew it.
- Um, I'll, uh, go get the conductor.
- No, you won't. - All right here?
- That's exactly how I'd like to keep it.
Take a seat, both of you.
Sit!
- You don't seem to understand, son, a man has been stabbed.
- It's better than being shot, wouldn't you say?
- All right, that's enough.
You're not part of the show.
He's not part of the show.
You're not part of the... Oh!
- Oh!
- No, I'm not.
- Oh my God, Margaret, are you okay?
- Hey, pal--
- Hey, listen, I don't know how much you've had to drink,
but--but this isn't funny.
There are a lot of people in this car, and....
- Hey, chatterbox, open up your mouth again,
and I will blast your teeth out.
- Shut up, Raymond, and sit down.
- Shut up and sit down, Raymond.
- I think this is real.
- Indeed it is, ladies and gentlemen,
this is a robbery.
It is very uncomplicated, and while we find ourselves
in a bit of a whodunit,
I can assure you that this act
will be very straightforward.
You will take our your valuables,
you will hold them in your hand,
and when I arrive at your location,
you will put them in this bag.
Do you understand?
Am I making myself clear? - Yes, yes.
- Good.
Let's start with you, princess,
take off the necklace, the earrings,
put them in the bag.
- No.
- I'm not gonna ask you again.
- Why? It's just glass.
It's just cheap costume jewelry.
- Really?
Then you won't mind parting with it.
- Leave her alone.
- No, no, no! - Please don't kill me.
- Wait!
Now you don't need to do that.
Everyone is going to cooperate.
- Really?
That's not what it looked like to me.
- He panicked.
You don't need to shoot anybody else, okay?
She just didn't want to take it off.
She will now.
- You hear that, lady?
He says you're good at taking instructions now.
Take 'em off, put 'em in the bag.
- Please, Kathryn. - Please, Kathryn.
- Oh, I think you're next, I like those pearls a lot.
- Please, these were my mother's pearls.
- Oh no.
Hey, okay, now the necklace. - Please.
- Jesus Christ, lady. - Stop!
Now you got what you wanted, so let the woman go.
- Not enough.
I see about 20 more passengers to go through.
- That's not what we agreed.
- Plans change.
- Just go up front and tell him to stop the train
so we can get off.
- I don't think you understand the situation, Thomas.
- I don't think you do.
- What the hell are you doing, Thomas?
- Stopping you from hurting anybody else.
- I don't think you want to do this, Thomas.
- You're right, I don't.
- Ain't nothing more useless in this world
than a man with no balls.
Take his gun, baby.
I told you he was a coward.
Have a seat.
I got this. Go up and talk to Luther.
- You sure?
- Yeah.
- Sorry, man.
- All right, everybody, move to the back three tables, slowly.
Do it now.
Go on.
- It was you.
That's how he knew about my diamonds.
- Everybody knew, you bragged about it before every show.
- You're a liar.
- We all know they're real, they're worth a fortune.
That's why we're here.
- Well, you didn't have to rip them out of my ear.
- You should've handed them over.
- You are such trash.
You know, you may have my jewelry,
but you will always be a small-time loser.
- Kathryn.... - Don't call me that.
- I'm sorry, are we friends now?
Margaret, please pick up the bag
and collect the other passengers' valuables.
- No, I am not helping you.
You are awful.
So is your acting.
- Jesus Christ.
- She didn't do anything, she didn't do anything!
You didn't have to shoot her.
- It's okay, it's okay. Just listen to my voice.
- It's not okay! She just--she just shot her.
- Somebody keep her quiet.
- It's okay, just listen to my voice,
listen to my voice.
- I said, tell her to shut up.
- She's upset, you just killed someone in front of her.
- Maybe I'm not done. - It's okay....
- I'll do it, I'll do it, just give me the bag.
- It's okay. It's okay.
- Hey, we're good.
- All right, at Marker 21, we'll go easy,
that'll give us some time to slow down before the bluffs.
- You Luther? - Yeah.
- Gonna need you to stop the train.
- Everything goes nice and easy,
this'll all be over in a minute.
- Just stay calm, everybody, do what she says.
- Do it now. - All right.
- You sit tight.
Do it.
- Hand it over.
- What was that?
- Sounded like gunfire.
- It's not your problem. Everybody stay put.
- Hang in there, buddy.
- Marker 21's coming up. - What?
- The curve. - What are you talking about?
- Paulson's Bluff.
- If we don't slow down for that, off we go.
- Into what? - Does it matter?
- Gigi, we have to stop now. - Shut your mouth.
- Ma'am, I promise you, if you do not let me stop this train,
we are all going to die.
- Do you think I'm stupid?
- No, ma'am, but you'll be dead as well.
- Clyde's got it.
- You can't expect us to just sit here.
- Shut up.
- We've got to move.
- I said sit down.
- We've got to get to that next car.
- Why?
- Because we are moving too fast,
and I think we might have a much better chance
if we move to the back, and I think we should do it right now.
Everybody, come on, let's go, move, move to the back.
- Nobody is going anywhere.
- Everybody move!
Move back, move back now.
- Go to the next car! - Come on, go, go, go, go...
- Move to the back, quickly. To the next car!
- Quickly, come on! - All of you, let's go.
All of you, let's go. - Go, go!
- Hurry, hurry.
- Come on, follow me.
- Antonia, where are you?
- Hold on.
- Oh, no. No, no.
- Lucy?
- Oh my God!
Somebody help me, please!
- Lucy?
Lucy, is that you? - Abigail?
- We need to get out of here now.
- Abigail?
- Are you okay?
Lucy, answer me, are you okay?
- No, I hit my head.
- All right, we need light.
I said we need lights. Does anyone have light?
Please, we need light. - I'm trying.
- Lucy, answer me, huh?
- I can't see anything.
- Lucy, I'm going to come for you,
but you've got to talk to me, okay?
You have to answer me. - I can't see you.
- All right, keep talking, here I come, all right?
Okay, I'm coming to you, but you got to talk to me, okay?
- Abigail? - Antonia?
- Abigail. - Antonia, I'm here.
- Abigail? - Antonia?
- Are you all right?
- Oh my God.
- I can't see anything, where are you?
- I'm coming. - Evelyn?
- I'm right here, I'm coming, I'm right here.
- Oh my God. - Lucy?
- Are you okay? - I don't know, I think so.
- Okay, you're all right.
All right, come this way, follow me.
- I'm so sorry. - No, you're okay, follow me.
Okay, right up here. We're going to be okay.
- I can't see anything. Where are you?
I can't see. - I'm coming.
- Please, Antonia.
- Grab my hand.
- Help me with the door.
- All right.
Ready? - Yeah.
- Push.
- It's not opening.
- Push harder.
- Somebody help, I can't move.
Somebody help, I can't move.
- It's jammed.
Do we have any more light?
- I'm still looking.
- Help.
- Hang on, Eugene.
- You all right? - Yeah, but I'm pinned.
My leg, it won't move.
- Oh God, that's so much better.
- Wait, can you move your toes? - Yeah.
- Yeah? Good.
- But it's still stuck, I can't move at all.
- Here, hold that.
- Back up, move, hang on.
- One more time?
- All right, all right, come on. - One, two, three.
- I got it, I got you guys, I got it.
Ray, Ray?
- Okay. Let's look at you, huh?
- Where are we?
- I don't--I don't know.
- Talk to me, Ray.
I don't see him, I don't see him.
- Where is all this water coming from?
- We must have crashed into a lake or something.
- This isn't happening. This isn't happening.
- Ray.
Hey, hey, Ray.
- We need to get out of here.
- I second that.
- Are we going to sink?
- It's entirely possible.
I mean, I'm surprised we haven't already.
- Thank you, Eugene, that's comforting.
- Well, at least we're alive, okay?
- For now.
- Ray, Ray, talk to me.
Open your eyes, come on.
Ray.
- Man...
You don't look so good, buddy.
What's going on? Where are we?
What the hell happened?
- We just went, we just went for a little swim, that's all.
- Where is everybody?
Where's Harry? Where's Deanie?
- Hey, hey, just get some rest, all right?
We'll get you out of here.
- Hey, hey, hey, it's on you now.
You got to get us out of here, buddy, get us out of here.
It's up to you.
Get us out.
- Stay with me, Ray.
Is there anything we can do for him?
Come on.
- He's lost a lot of blood.
We need to get him to a hospital.
- I'll go.
- No.
You're not going anywhere.
It's your fault we're in this mess.
You hear me?
- We're running out of time.
- Yeah, and whose fault is that, huh?
Does anyone in this car have a single ounce of trust
for this piece of shit?
- Look, I know you're upset....
- You murdered him.
You killed all these people.
This is all your fault, you son of a bitch.
You ought to drown, drown in your own filth,
you murdering thief, you hear me?
Die!
- No, stop, that doesn't help anything.
Stop!
- What are you doing? Stop it.
Hey, look at me, look at me. What are you doing?
We have to work together, okay?
Calm down, look at me.
- Lucy?
- Look at me, yeah, yeah, you're okay.
Okay, hold on.
Oh my God.
- Is he okay? - Hey.
- Oh my God. Matthew?
- What is it?
- I don't know.
Do you hear that?
- Yeah. I think I heard it, too.
- Shh.
- Get away from the window.
- Oh my God. Oh my God.
What are you doing?
- Hello?
Hello! Help!
- Matthew, what do you see?
- I think I see land.
- How far is it?
- Uh... I don't know.
50, 100 yards, maybe more.
- What about the other train cars, do you see anybody?
- No, nothing. Just water.
- So who can swim? - Swim?
- Doesn't matter, we're all gonna have to.
- Yeah, but who goes first?
- Look, we're not swimming anywhere.
No, we should just stay here.
- What do you mean? Why can't we all go together?
- Because we don't know where to go.
You said you saw land, how far?
- Like I said 100 yards, maybe more.
- Like a football field?
Jeez, that's just a long way to swim to be wrong.
- I'm a really good swimmer.
- Yes, you are, but you are not going to.
- It doesn't matter who goes. - It may not to you.
- Whoever goes should just take a light with them, you know,
give us something to aim for, a point of reference.
- What if there's nothing there?
- Enough, I'm going.
Lucy, take these, all right?
Keep that light on me. If it goes out, use that, okay?
Okay.
- Matthew?
Matthew, where are you?
- What do you see?
- I can't see him, it's completely dark.
- Give me the flashlight.
- Matthew?
- I see him. - Where?
- Right there.
- Matthew?
How far are you?
- Hey guys, I think I see land.
It's not that far.
- Matthew, swim back, okay? Swim back now.
- It's okay, Lucy, I'm coming back.
You can do this.
- What is it?
- There's something out here.
There's something out here.
- What? - What do you mean?
- What do you mean, what's in the water?
- Just tell him to come back, tell him.
- Okay, come on, come on, swim back.
- Just come back. - There's something in here.
There's something in here.
It's got my foot. - Matthew, come back right now.
- Swim back, Matthew, come on. - Come on, Matthew!
- Come back right now.
Come on, come here.
- Matthew? - Where'd he go?
- I don't know.
- Matthew, where are you? - Matthew!
- Where'd he go? - I don't know.
Matthew, where are you?
- I can see his light, I can see his light.
- Where? - Where?
- Where'd he go? - I don't know.
- There, I think I see him.
- Matthew, swim back now. Come on, come back.
- Okay.
- Okay, grab my hand.
- Matthew? - Where did he go?
- I don't know.
Matthew! Where did he go?
- I don't know. - Where did he--
- Abigail, hey, what is it? What did you see?
- I don't know, but something took him.
- Took him, what? Took him how? Took him where?
- I don't know, I don't know what I saw.
- Hey...
- A hand, a hand or something, it had claws.
- What? - What do you mean?
You said a hand, like a person?
- I don't--I don't know what I saw,
but something took him.
- What are you saying, are you saying something took him?
How do you not know what you saw?
- Hey, hey, she's just a kid, okay?
All right, look, we are going to be okay,
but I need you to calm down.
- Okay, I'm sorry, I'm sorry. - Okay, it's all right.
- God, I never should've bought you that stupid ticket.
- No, no, no, no. - You didn't even want to come.
- Lucy, that's not true. Lucy, that's not true.
- Yes, it is, you did it for me. You always do things for....
- Hey, shh.
- Hey guys, I can't--
I can't feel my arm.
- We are going to be okay.
We are going to get out of here, yes?
But I'm going to need you to swim.
We're gonna swim. - No, no, no, I can't swim.
- Yes, we are, and we're gonna...
- You know I can't swim. - ...we're gonna do it together.
- I don't know how!
- We're gonna do it together, and you're going to swim.
- No, what we need to do is we need to stay here.
Okay, people are going to be looking for us.
- Hey....
- They're going to know that the train didn't arrive.
They're going to be looking for us.
- Hey, guys. - I know they are.
- No, we have to go to them, all right?
- I can't swim.
- Hey guys?
- You can do this. - Hey, guys.
- People are coming, people are coming to look for us.
- Guys. - Stay here.
- There's something in the water.
- Raymond! Raymond!
- Lucy? Lucy!
Lucy! - Raymond!
- Get out of the water.
- Where did he go? Where did he go?
He just disappeared. - Lucy.
- What was that?
- Lucy, get out of the water right now.
- Where did he go? He was right--
- Oh my God!
- Oh my God! Oh my God!
I'm stuck.
Evelyn! Evelyn!
No, no, no, no, no!
Evelyn, let me go.
You have to, you have to let me go.
- Lucy, I can't let go.
- Oh God, let me go, please, please!
- Lucy, Lucy!
Oh Lucy!
- Go!
Just go, get them out of here.
- Jump.
- Abigail, swim,
swim ahead of me, keep going.
- Go, I said get out of here.
- Wait, please, please don't leave me.
- Nobody's leaving anybody, Eugene.
- Oh no.
- Is it just us?
- I'm afraid so.
- Anything?
- What do you think that was?
- I don't know, but whatever it is is still out there,
and we just have to hope that we swam the right way.
- It doesn't matter now.
We can't go back even if we want to.
- No.
What you did out there was really brave.
- Was it? - Yes.
- I'm not so sure, there's something about all of this....
- Hey, most people, they run when they're confronted
by difficult situations, and you didn't.
- I didn't have another choice.
- We all have choices.
I've seen a lot of horrible things.
- Did you run?
- No, but I probably should've.
- We'll find our way back.
- How?
- Through there.
- Okay, wouldn't be my first choice.
- Nor mine, but it's either that, or we swim.
- Let's go.
- Eugene!
- Oh my God, are you okay?
- Yeah, yeah.
- What happened? - I'm okay.
- What happened? - I'm not really sure.
- What do you mean? Where's Thomas?
- I don't know. He just left.
- He left you?
- He just dove under the water,
and I mean, that was it, that's the last time I saw him.
The next thing I know, something's pulling me down
and shoves me through a window, so I swam.
I mean, it had to be him, right?
It sure as hell wasn't....
What...
What was that?
Thomas.
Where were you? I thought you left.
I'm so glad you're back.
- I told you I wouldn't.
- I've never been so happy to be so wrong.
- How's your leg?
- It's okay.
- Antonia!
Thomas, no.
Evelyn, where are they?
Where'd they go?
- Oh God, oh God.
Take her, take her.
- Te amo. - What are you doing?
- Te amo, mija.
- Antonia, Antonia!
- Keep going, keep going.
- Go, I'm right behind you.
- Antonia!
What is this place?
- I don't know.
- Well, it doesn't matter. Let's just go in.
- Yeah.
- Okay?
- Abigail, take this.
- Oh, thank you.
It doesn't look like anyone's been here for a while.
- Let's look for a light, find a phone.
- It's just me.
- What is this place?
- I don't know.
- Give me the light.
- I'm going to check over here.
- Abigail, stay with me.
- I'm fine.
- Abigail?
- What? I'm fine.
- Shit, you scared me to death.
- Sorry.
- I used to eat these as a kid.
- Bon appetit.
- How long are we going to run from this thing?
- As long as we can.
We should be safe here, at least for a little while.
- That's just it: we can't run forever.
There's got to be some way to stop it.
- And what if there isn't?
What if this is just the way it ends?
- You know, I almost didn't go tonight?
- On the train?
- Yeah.
I almost didn't go.
- What might've been.
- The choices we make, huh?
- Choices catch up with you.
It seemed like it was important.
- It is.
- Someone special?
- A reminder.
Whenever there's something I don't feel like I can do
or get through, I look at it,
and then I know that I can.
- Well, you might need to take a look at it now.
- Where's Eugene?
- He was out there.
- He's not now.
- Eugene?
- Eugene, are you okay?
- Eugene!
- Run!
- Come on, Abigail! - Come on, come on.
- Come on, Abigail! - Come on!
Come on! - Go faster.
- Come on, this way!
Come on, come on. - Go down the stairs!
- Right down here.
- Come on, honey.
Okay, we're going to be okay.
- What are you waiting for? Go.
- Where's Thomas?
- I'm tired.
- Yeah, me, too.
- Are we gonna die?
- No, not if I can help it.
- I think that's what she knew.
She saw it.
- Saw what?
- That's why she let go.
- Who are you talking about?
- Antonia.
She just let go.
Maybe that's what we have to do.
- I can't do that.
I don't know how to do that.
And I don't believe that she did, either.
- She did, she saw something.
- Hey...
Whatever that thing is out there...
it doesn't get to make that decision.
Do you hear me?
Our lives are our own...
and we decide when.
- And what if you're wrong?
- Thomas?
- It's not.
- Abigail, wait, what are you doing?
Don't.
Abigail!
No!
Abigail!
No!
Okay, okay.
- THE HOST: There will be moments
of significant discomfort.
- ABIGAIL: Are we gonna die?
- EVELYN: Not if I can help it.
- THE HOST: Follow it, embrace it,
it'll be much easier if you do.
- EVELYN: We can't run forever.
- THE HOST: It's all part of the plan.
- EVELYN: What do you mean? Why can't we all go together.
- EUGENE: Because we don't know where to go.
- EVELYN: Our lives are our own, and we decide when.
- THOMAS: What if this is just the way it ends?
- ANTONIA: We'll find our way back.
- Thank you, have a nice evening.
- Help!
Somebody!
Help...
Somebody help!
Somebody...
- You need to send help, there's been an accident.
- Where?
- Paulson's Bluff, there-- there should be a wreck.
I don't know if there are survivors.
- Are you saying a wreck from a train?
- Yes.
- Hang on, I'm gonna write this down.
- You're wasting time, you have to send help.
- I'm gonna need you to calm down, okay?
I've already called for help. I understand--
- You don't understand.
Something attacked us. One by one it took us.
- What took you? Took you where?
- I don't know, away.
- Okay.
- You called? Whoa.
- Yeah, we have a situation.
- What's going on?
- Sit tight, relax, I will be right back.
- No, no, no, please don't leave me, please don't leave.
- I'm not gonna leave you, I'm just going to step outside.
I'll be right on the other side of that door.
- There is something out there.
I don't know what,
but it is coming for all of us.
- What's that?
- Ma'am, it's all right. You're going to be safe.
I'm going to lock the door behind me.
I'll be right back, I promise.
- What's going on in there?
- Don't know, I found her on the platform.
- But where'd she come from?
- Said she was in a train accident.
She's obviously been through something,
but it didn't make sense.
- We better talk to Manny.
- Girl comes walking up bruised and battered,
claims she was in a train accident.
- Train? One of ours?
- That's what she says, something about
a wreck out at Paulson's Bluff.
- Is this a joke?
- No, she claims that she and her party were attacked,
that there was something out there.
She's pretty upset.
- Call St. Mary's Hospital and ask them
to get someone out here and then call the police.
- Copy that.
- Where is she now?
Where are the people she had with her?
- Gone.
- Dead, I guess, said she didn't know
if there were any survivors.
- What does she have on her?
- Nothing, no phone, no ID,
just came in looking like she'd been dragged through the mud.
- What is that?
- Is that her?
- I told you, she was pretty upset.
- Did she give you a name?
- Yeah, Evelyn Hyde.
- Hyde?
- Yeah, you know her?
- Evelyn Hyde?
- She's in there.
- Open the door.
- What the...
- She was here.
- Where did she go?
- I don't know.
- What is it?
- Huh.
Follow me.
- Can someone tell me what's happening?
- I can tell you what I know,
but I don't think I'd be telling you what's going on.
I mean, this is gonna sound crazy,
but there was a train crash,
and there was an Evelyn Hyde.
- What? When?
- Ninety-six years ago, on this train.
- This train? - The very one.
One night in 1922,
a train took off from Sunset Station,
56 miles north of the Rio Grande.
They were traveling close to 90
and hit a 30-mile-an-hour curve and derailed.
They jumped the tracks and slid on their side
down an embankment and eventually plunged
into the Arroyo River.
There were no survivors.
The bodies vanished, and they were unaccounted for.
- Unaccounted?
- Never found.
Washed away or taken by alligators.
Maybe they would've had a better chance
if they hadn't gone into the water.
The surviving passenger car was eventually dredged up
and shipped up here for restoration,
and that's what you see here on display.
All of it.
- So if it was a train crash,
what attacked them?
She was running from something.
- Yeah.
Perhaps from Death itself.
You sure you got a good look at her?
- Yeah, of course.
- Why were they going so fast?
- No one really knows.
It's still a mystery.
- ♪ Whoa
♪ Whoa